• Journal of the Korean Home Economics Association
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• v.33 no.3
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• pp.265-277
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• 1995

Shoos-in in Nara of Japan has two kinds of Priest's robe(Kasa : 袈裟) ; one is Jiksung Kasa(織成袈裟), the other Janap Kasa(刺納袈裟). The former is listed as the 'Jiksung Kasa of tree bark color in seven stripes' in the Treasures Record(珍寶帳) of objects dedicated by Empress Komyo on the 21st day of the 6th month 756 A.D. The warp threads are brown and the weft threads are in groups of two in two colors-dark blue, green yellow and red. The latter is the so called Janap Kasa, of tree bark colors in seven stripes, that was also dedicated by Empress Komyo, 'Ja' means to stitch, and 'Nap' means to sew. It is made of patches of silk of various color, placed overlapping one another in patterns the resemble a mountainous landscape. All are stitched together in a continous quilt-like manner with purple threads. Japan has been under the strong influence of Korea Buddhism during the Nara period. Acording to Nihonki(日本書紀) and Sokunihonki(續日本紀), from 668 to 769 A.D., Japan has bought numorous objects including Buddhist utensils such as priest's robes and banners from Korea. Also during the same period Japan has perchased many kinds of dyestuffs and paint. So we can be certain that priest’s robes were imported from Korea like many other objects of Shoso-in.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2008.10a
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• pp.367-370
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• 2008

In this paper, the effects of the position and the angle of the auxiliary probes on the measurements of the low frequency ground impedance with the fall-of-potential method are described iud the testing techniques to minimize the measuring errors are proposed. The fall-of-pot ential method is theoretically based on the potential and current measuring principle and the measuring error is primarily caused by the position and angle of auxiliary probes. In order to analyze the characteristics of ground impedance due to the location of the potential probe, ground impedances were measured in case that the distance of current probe was fixed at 50[m] and the distance of potential probe was located from 10[m] to 50[m]. Also, the potential robe was located at 30[$^{\circ}$], 40[$^{\circ}$], 60[$^{\circ}$], 90[$^{\circ}$], and 180[$^{\circ}$]. The results could be help to determine the location of potential probe when the ground impedance was measured at grounding system.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.135-144
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• 2010

This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

• The Research Journal of the Costume Culture
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• v.13 no.4 s.57
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• pp.658-670
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• 2005

Kublai Khan on a Hunting Trip were painted by Liu Guan-dao. This painting gives us very important information for understanding cosume of Yuan dynasty because of realistic description. We studied the name of costume of the king Shizu in this painting by using the way of comparison his costume with another paintings, the records and archaeological finds. This study showed that the costume of the king Shizu is judged to be Jisun, the traditional costume of Mongolian own meaning one colour. The name of each is the Yinshu warm hat, being making into the for of a kind of rodents, the Yinshu Jisun, the Red colour Jisun, being railed on the robe, and the Cloud boots cover. And we found that the decoration on the neck and sleeve tib of the Yinshu Jisun had been made by sable furs, and the decoration on the surface had been made by tails of them, going by the name of Rondes at that time. It also showed that the meaning of one colour of the Jisun is not only just appearing one colour on the one person but also being able to appear two set of one colour.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.269-284
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• 1997

Followings are the analysis of the two areas'costumes, the Renaissance and Baroque, as the analytic and synthetic structures. From the analytic structure of the costumes, the analytic body and of the Renaissant man's outer garments is manteau, pourpoint, trousses, bas du chausses, and codpiece of the hat is toque. And the analyic body of the Baroque, man's costume is pourpoint and rhingrave, of the under garments is chemise, of the hat is felt, of the shoes is shoes. In the analytic structure of woman's costume, the analytic body of the Renaissant outer garments is robe, of the under garments is corps-pique, chemise, and vertugadin, of the hat is french hood. And the analytic body of the Baroque outer garments is skirt and overdress, of the undergarments is corps-baleine. The results we have got from the analysis of the synthetic structures of the costumes is that other analytic elements are chosen and united as the component features of the major analytic elements among the analytic elements in the tables of 3-1, 3-2, 3-3, and 3-4. If we compare the two analytic bodies of the two areas, we can see that the names of the costumes were changed and the component features about the names were changed according to an area, too. And we can see the synthetic structures were changed according to the analytic body in the analytic structures were changed according to the analytic body in the analytic structures with the synthetic structures.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.812-825
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• 2008

This article analyzed fashion representations in France posters, especially the late 19th century France when mass consumption cultures arose. That was analyzed by consumers' sexuality supposed in advertisement contents. Female models mainly figured in posters of the late 19th century France made a role to promote consumption, in which female models were emphasized on fashion, for example, erotic robe, unusual hair style and etc. Posters' type in this period were categorized in three types by presenting style of female body and fashion style. The first were targeting female consumers, and that posters represented bourgeois fashion styles and life styles to clear consumers' social status and to present women's consuming power. The second case was targeting male consumers, and that posters figured female models such as available products. In this case, poster artists emphasized female models' sexualities and used fantasies against eroticism of the legs and feet. And third case was targeting female consumers and males', in this case, two different aspects were required to appealing to consumers. One was to use a female sexuality to appeal for male consumers, the other was to modify female models as transcendental being such like a muse admirable and mysterious, through fashion styles for female consumers. In the late 19th century, female body and fashion were spectacular elements in visual arts specifically. This study clarified representations of female body and fashion in the late 19th century posters according to poster's contents and target consumer's sexuality. This was one of the aspects characterizing early advertisement media.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.17-34
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• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.1
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• pp.99-111
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• 2012

This paper investigates the formative features and the historical meaning of the Korean dress collection held in the Horniman Museum in London. The Museum holds eighteen items of Korean dresses donated by Mrs. C. de J. Luxmore in 1948 and by Mrs. Bowra in 1953. Male dresses consist of white silk outer robe (durumagi), a pale violet silk waistcoat (jokki), a jade green silk jacket (jeogori), pale yellow silk trousers (baji), a pair of ankle bands (daenim), a cotton waistband (dae), a silk purse (jumeoni), a rattan under-vest (deungbaeja), a pair of rattan wristlets (deungtosi), a top hat (gat) and a skullcap (tanggeon). Female dresses comprise a jade green silk jacket (jeogori), an ivory silk skirt (chima), a light blue silk petticoat (sokchima), two kinds of white cotton trousers (sokbaji and soksokgot), a pair of silk wristlets (tosi) and a pair of padded socks (beoseon). A Korean dress collection of the Horniman Museum shows a set of ordinary dress items worn by a married couple in the 1930s and the 1940s. Of these items, a silk petticoat (sokchima) and a rattan under-vest (deungbaeja) can be highly evaluated as object resources in the history of Korean dress. The petticoat is a rare and valuable example that represents an early type of modern petticoat that has replaced a traditional petticoat (dansokgot). The rattan under-vest has square neckline and two tiny sleeves similar to a Western cap sleeve. This kind of under-vest is a transitional form shown between under-vest similar to the Korean waistcoat (baeja) and one similar to the Western waistcoat (jokki).

• Journal of International Society for Simulation Surgery
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• v.1 no.1
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• pp.37-40
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• 2014

Purpose For living donor liver transplantation, liver segmentation is difficult due to the variability of its shape across patients and similarity of the density of neighbor organs such as heart, stomach, kidney, and spleen. In this paper, we propose an automatic segmentation of the liver using multi-planar anatomy and deformable surface model in portal phase of abdominal contrast-enhanced CT images. Method Our method is composed of four main steps. First, the optimal liver volume is extracted by positional information of pelvis and rib and by separating lungs and heart from CT images. Second, anisotropic diffusing filtering and adaptive thresholding are used to segment the initial liver volume. Third, morphological opening and connected component labeling are applied to multiple planes for removing neighbor organs. Finally, deformable surface model and probability summation map are performed to refine a posterior liver surface and missing left robe in previous step. Results All experimental datasets were acquired on ten living donors using a SIEMENS CT system. Each image had a matrix size of $512{\times}512$ pixels with in-plane resolutions ranging from 0.54 to 0.70 mm. The slice spacing was 2.0 mm and the number of images per scan ranged from 136 to 229. For accuracy evaluation, the average symmetric surface distance (ASD) and the volume overlap error (VE) between automatic segmentation and manual segmentation by two radiologists are calculated. The ASD was $0.26{\pm}0.12mm$ for manual1 versus automatic and $0.24{\pm}0.09mm$ for manual2 versus automatic while that of inter-radiologists was $0.23{\pm}0.05mm$. The VE was $0.86{\pm}0.45%$ for manual1 versus automatic and $0.73{\pm}0.33%$ for manaual2 versus automatic while that of inter-radiologist was $0.76{\pm}0.21%$. Conclusion Our method can be used for the liver volumetry for the pre-surgery planning of living donor liver transplantation.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.2
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• pp.35-49
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• 2016

Dopo was the clothing of the Joseon period, which had a strong value of Confucianism. Apart from the kings and princes, government officers and Confucian literati wore Dopo as their official clothing and the uniform. The basic form of Dopo had the straight collar similar to Jikryeong. The difference is the shape of a Mu, which was fixed inside or on the back section along the side line of the front section and made two flaps on the back section. The clothing found in the tombs of Bae Cheonjo (1532~?) are from the mid-16th century to the early 17th century with the clothing style of the early Joseon period. The outer collar of all clothing was the shawl collar except for the Sibok and the inner collar was sewn to this. Two items had square tray collars, which were folded in half and sewn inside in half. The sleeve had a straight inseam from the armhole and its end around the wrist was round and wide. The carp-shaped inseam of the sleeve and wide sleeve indicated a change of sleeve shape. The shapes of the collars and the wide overlapped section of the dual collars demonstrated the shapes of the initial outer robes. The man's outer coats with wide sleeves were mostly cotton-quilted clothing. As described above, this paper examines the basic shapes of outer robes including Sibok, Jikryeong and man's outer coats on the basis of the clothing and artifacts from the tomb of Bae Cheonjo (1532~?) and examined the shapes, composition and features of Dopo. This paper aims to improve awareness of the wisdom and spirit of ancestors in life hidden in the sewing of the three Dopo items and on the importance of historical research.